
International Art | Sculpture
Satyr with wineskin cast 19th century
after UNKNOWN ROMAN
International Art | Sculpture
Satyr with wineskin cast 19th century
after UNKNOWN ROMAN
International Art | Painting
The prodigal son c.1780-1840
UNKNOWN
International Art | Sculpture
Spinario cast late 19th century
after School of PASITELES
Asian Art | Print
Courtesans (reprint) unknown
after EISEN
Asian Art | Sculpture
Flying horse of Kansu cast 1973
after EASTERN HAN ARTIST
International Art | Sculpture
Bust of Niccolo da Uzzano unknown
after DONATELLO
International Art | Sculpture
Borghese warrior 19th century
after AGASIUS THE EPHESIAN
Pacific Art | Fibre
Jipai (mask) 2011
AFEX, Ben
International Art | Glass
Decanter c.1875-1900
AESTHETIC STYLE
International Art | Glass
Vase c.1880-1900
AESTHETIC STYLE
International Art | Glass
Vase c.1880-1900
AESTHETIC STYLE
Contemporary Australian Art | Installation
Blackboards with pendulums 1992
KENNEDY, Peter
International Art | Drawing
Design
ADAM, Sicander
International Art | Metalwork
Tea urn c.1770-1800
ADAM STYLE
International Art | Ceramic
Long necked vase c.1900-50
ACOMO PUEBLO
Pacific Art | Photograph
'Te Waiherehere', Koroniti, Wanganui River, 29 May 1986 1986, printed 1997
ABERHART, Laurence
Pacific Art | Photograph
Nature morte (silence), Savage Club, Wanganui, 20 February 1986 1986, printed 1999
ABERHART, Laurence
Pacific Art | Photograph
Angel over Whangape Harbour, Northland, 6 May 1982 1982, printed 1991
ABERHART, Laurence
Australian Art | Drawing
A memory of Gumeracha (study of flies) 1908
HEYSEN, Hans
Pacific Art | Print
The boxer 2009
ABEL, Patrik
‘Seeds and Sovereignty’
A fusion of Law and ecology that connects people across vast regions of the continent, Songlines are the journey paths along which creator-ancestors travelled to bring Country into being.1 Expressed in songs, dances, rituals and art, they are containers of essential knowledge of the world, including a multitude of lessons on plant foods and medicines — and their seasonal rhythms.
In the dazzling and celebratory Awelye Atnwengerrp (Women’s ceremony from the Atnwengerrp), Utopia artist Minnie Pwerle brings to life the Tjukurpa (Dreaming stories) of the increasingly rare bush melon, found only in Atnwengerrp. Here, melon shapes are intertwined with patterns that represent the Awelye designs painted on women’s upper bodies during Atnwengerrp ceremonies that honour bush food. Kunmanara Williamson and Mrs Burton’s Punu depicts the ultukunpa or kaliny-kalinypa (Honey Grevillea) Tjukurpa from their Country near Irrunytju in Western Australia. The meandering leaves and branches mimic and overlay ancestral journey lines, solidifying the significance of this delicacy.
Amongst a series of prints depicting important food plants from diverse regions of the country, Torres Strait artists Solomon Booth and Matilda Nona each represent the interconnectedness of plants within the rhythms of seasonal signs and ritual practice.
Cape York artists Sonya Creek and Mavis Ngallametta both work with natural pigments in energetic works that revel in the landscape and the botanical food and medicine within it, while Hermannsburg Potter Rona Rubuntja’s ‘Bush tucker’ series of decorated pots from the famous Arrernte collective demonstrates the ongoing importance of these regional native foods. For these artists,
these are not just foods: they are bound up in stories of creation, in kinship, and in multiple layers of personal and collective memory . . . bushfoods are an inseparable part of themselves.2
Endnotes